What do you get when mixing Louisville Math Rock with DC Post-hardcore? Answer: Jeff Mueller’s & Fred Erskine’s June of 44

RODAN

So our story begins in Louisville, Ky circa 1992.  Jeff Mueller & Jason Noble (along with Tara Jane O’Neil and Kevin Coultas) formed the influential math rock group, Rodan.  The band, along with acts such as Crain and Slint, defined the Louisville Math/Post Rock scene.  Although Rodan’s career was short (they broke up in 95), the members went on to form other significant acts of indie & post rock music (Retsin, Rachel’s, The Sonora Pine, and others that will be mentioned below). In 1993, the band recorded their only full length, Rusty (1994 Quarterstick Records); the album’s name was inspired by their producer’s nickname, Bob “Rusty” Weston (of Shellac & Volcano Suns fame).  They recorded a demo and some 7”s, and they did a John Peel session in 1995.  Their sound, like many Math Rock acts, ranges from quiet & minimal to loud, chaotic, and dissonant.  The vocals vary as well from spoken word & haunting melodies to screams & wails of rage. At times the rhythms are calm and subtle, while at other moments, the rhythms explode into angular, frantic beats.  A band like Rodan makes clear that Math Rock, Hardcore, and Post Rock all have common roots as musical genres.  Here’s the epic track, “The Everyday World of Bodies,” off their full-length, Rusty:

That’s some lovely Mathcore dissonance. Now here’s a shorter number, “Shiner,” a song that clearly demonstrates their more “hardcore” influences:

Now take a listen to the last track, “Tooth-Fairy Retribution Manifesto,” a song that anticipates the ever so popular phenomenon of Post-Rock:

As stated before, the dynamic Louisville band unfortunately broke up in 1995, but the members went on to form acts of equal importance.  In fact, Mueller went on to form the legendary Math Rock group June of 44, but first, our story returns to 1992 to the legendary hardcore scene of Washington DC.

http://www.mediafire.com/?gnoy4lzndwm

HOOVER & the CROWNHATE RUIN

Around the same time Mueller and others were forming Rodan, Fred Erskine teamed up with Alexander Dunham, Christopher Farrall and Joseph McRedmond for the post-hardcore act Hoover.  Like similar acts of the region, they recorded their (first & technically only) full length The Lurid Traversal of Route 7 (1994) on the formative label Dischord Records.  Dischord/Fugazi fans know what to expect here; in fact, any Dischord enthusiast is probably already well aware of this record.  I cannot stress how great an album this is! Some people argue that this an Emo record; I definitely agree with the insight that Emo was born out of the vibrant Post-Hardcore scenes of cities like DC, Chicago, and San Diego, but this is closer to Hardcore than Emo Rock to me. Check out the opening track off their full length, “Distant”:

Somewhere on the internet, I read the statement that this might be the best DC post-hardcore band that does not include Ian McKaye. One could make the case; the record is better than much of the later Fugazi catalogue, for sure.  Here’s another track, “Electrolux,”  that perhaps demonstrates elements of mathy post-rock (like the sounds of Rodan...):

I hear connections to Rodan in the above track, and like Louisville Math rockers, Hoover had split up by 1995.  They recorded some 7"s in addition to their album, and they later reunited to record an unfinished self-titled record in 1997 (Slowdime Records).  Around when Fred Erskine joined Jeff Mueller to form June of 44, he and other Hoover members formed an even shorter-lived Post-Hardcore project, The Crownhate Ruin, in late 1994.  They recorded some 7”s (including one with Boston’s Karate on Art Monk Construction in 1995) and eventually released a single full length album, Until the Eagle Grins (1996 Dischord Records).  Here’s the opening track, “Ride Your Ride”:

The music is very similar to the previous project, but it’s no Hoover if you ask me.  The group quickly disbanded, and it was at this time that Rodan’s Mueller connected with Fred Erskine to develop the band June of 44. 

H: http://www.mediafire.com/?wmtzvozgdnj

CR:  http://www.mediafire.com/?9n8ddmysz0d

CR/K split: http://www.mediafire.com/?hyycw1mzxdw

Erskine and Mueller were joined by Sean Meadows (of Lungfish, yes, I said Lungfish...) and Doug Scharin (of HiM and Rex) in 1994 to form what one might deem a “supergroup.”  June of 44 were a Math Rock collective that toured and recorded consistently until 2000. Although they are commonly labeled a Math Rock group, their music includes elements of Emo, Post-Hardcore, Post-Rock, and dub-style Jazz, so their albums tend to be more accessible than the heavier projects that preceded them.  Their first album, Engine Takes to the Water (1995 Quarterstick Records), remains close in sound to Mueller’s and Erskine’s previous projects; here’s the 2nd track “June Miller” (as in Henry Miller’s 2nd wife; I believe she has something to do with group’s decision to be named June of 44):

One can definitely hear the influences of Louisville bands like Rodan and Slint as well as the styles of DC Post-Hardcore.  The following year they released Tropics and Meridians (Quarterstick Records), and they immediately began to develop their sound in multiple, experimental directions.  Bob Weston (of Shellac) reunited with Mueller and began working with the group as well. Their 3rd release, however, Four Great Points (1998 Quarterstick Records), represents the band’s development from sophomore sounds to more mature writing & composition.  It’s mellower, less angular, and more expansive in its range of styles.  To me, late June of 44 sounds more like modern Post Rock music than say 90s Mathcore.  Check out the opening track, “Of Information and Belief” from their 3rd full length:

Although mellower, their music has an edge for sure.  June of 44 released their final studio album Anahata in 1999 on Quarterstick, once again recorded by Bob Weston.  The album pursues similar experimental paths of Four Great Points; I highly recommend it as well.  Before the group broke up in 2000, they did record one last record, a live In the Fish Tank studio session.  Oddly enough, June of 44’s In the Fish Tank 6 (1999 Konkurrent Records) is one of my favorite records to listen to..... Maybe that’s due to the fact that I’ve been nerding out on cheesy Post Rock for the last couple years.  Check out the song, “Henry’s Revenge”:

The last track recalls Post-Rock groups like Tortoise, Mogwai, etc.; it would have been interesting to see where June of 44 would have gone musically in the 21s century.  I personally think the closest answer to that question can be found in the recordings of Jeff Mueller’s latest project, Shipping News.

ETttW:  http://www.mediafire.com/?mqwoocmqr15

FGP:   http://www.mediafire.com/?immna4l5l2hmsix

ITFT:  http://www.mediafire.com/?m6mvs58u07c1aa4

SHIPPING NEWS

The group formed in the late 90s when Mueller reunited with Rodan’s Jason Noble. Like Rodan & June of 44, the group has been called Math Rock, Post-Hardcore, as well as Post-Rock, but like June of 44, the maturity of their sound becomes clear because they obviously don’t rely on the conventions of any of those genres.  Their compositions are very diverse and original.  Shipping News has released several albums over the years (most on Quarterstick Records).  Personally, I love their 2nd studio album, Very Soon and In Pleasant Company (2001); the track “Actual Blood” is my favorite Shipping News song:

That’s a beautiful song, but it’s not an accurate portrait of Shipping News’s wide range of sound. I highly recommend all of Shipping News’s releases, particularly their 4th album, Flies the Fields (2005 Quarterstick Records).  The tempo of their music isn’t always so slow; they can pick it up and rock as well.  Definitely support their live performances.

This post could keep going, but I will end it here.  I will return later to Louisville to post more gems from the city’s legendary music scene (such as Squirrel Bait, Slint, Crain, etc...).  For now, take care and enjoy!

Emo Diaries, Entry 2: the Work of Bob Nanna (Braid, Hey Mercedes, & The City on Film)

(Artist Robert Nanna performing live)

Braid

When posting on the Kinsella brothers and the best of 90s Emo Rock, one has to mention the other great Illinois legend, Bob Nanna.  He first played in a group called Friction before forming the legendary Emo band Braid in 1993.  Is Braid possibly the best Emo band of the 90s?  One could easily argue the case.  They released their first album Frankie Welfare Boy Age Five in 1995 on Divot Records; it’s more aggressive and hardcore than anything else in the group’s discography.  The band immediately followed up with the album The Age of Octeen in 1996 on Mud Records, but their seminal classic was their third full length, Frame & Canvas (Polyvinyl 1998).  Their 3rd album may be the best Emo record ever; it’s a perfect summation of the era.  I first heard this album in high school and will most likely listen to it for the rest of my life.  This is great rock’n’roll; check out the classic “A Dozen Roses”:

This is what Emo meant in the late 90s.  They’re not wining about a juvenile romance gone wrong nor are they indulging some proclamation of self-loathing insecurity.  It’s emotionally-felt, experimental rock’n’roll done thoughtfully & tastefully.  Here’s the opening track “The New Nathan Detroits”:

Although Braid broke up by 1999, they have briefly reunited a few times in the last decade.  They released a collection of their 7”s on a 2xCD release, Movie Music, Vols. 1-2 (Polyvinyl 2000).  

During the Braid period, Bob Nanna also teamed up with Cap’n Jazz’s Tim Kinsella (also of the many bands posted about last time...) to form the side project, The Sky Corvair.  They released one album, Unsafe at any Speed, in the mid 90s. (See the last post for more about that project.)  Their music was heavier and more hardcore much like Braid’s 1st full length release.

AofO:  http://www.mediafire.com/?mziztzwnxib

 F&C:  http://www.mediafire.com/?yzyhtnidyww

Hey Mercedes

After Braid’s dissolution, Bob Nanna and other members formed the project Hey Mercedes.  They released two full lengths and several Eps between the years 2000-2005.  Their music was much more “mainstream” and poppy while still developing the Emo rock sounds of Nanna’s earlier work.  Personally, I like the earlier releases such as the first self-titled Ep (Polyvinyl 2000) and the debut album, Everynight Fire Works (Vagrant Records 2001). Here’s the opening track, “The Frowning of a Lifetime,” off the debut album:

It’s much poppier than anything from Braid’s catalogue.  It’s not my favorite material by Bob Nanna, but it has its place, I guess... The first album is definitely worth a listen:

http://www.mediafire.com/?mo21jzig3xz

The City on Film

In the 2000s, Bob Nanna has recorded several Eps & 7”s along with one full length under the name The City on Film.  I posted a link to their split 7” with Owen in the last post, and I mentioned that I was not too enthusiastic about their tracks on that particular release.  Contrary to that statement, I highly highly recommend Bob Nanna’s full length release, In Formal Introduction (Grand Theft Autumn 2005).  Here’s the track “Forgiveness,” off his sole full length In Formal Introduction:

Like Mike Kinsella’s Owen, this seems to be a folkier, more laid-back side of Bob Nanna, and one can see the obvious development towards this end.  The City on Film’s In Formal Introduction is a great addition to any Indie Rock library; definitely check it out:

http://www.mediafire.com/?11lzmes11mh

This one’s for Ricky: Pentagram, America’s “first” heavy metal band

Pentagram is a long-standing American heavy metal band from Virginia that released many influential demos throughout the 70s, pioneering the sounds now known as Stoner Metal & “early” Doom Metal. The band reformed with new members (vocalist Bobby Liebling being the only staying member...) in the 80s and began recording full length albums. A word of advice: stay away from the “studio albums;” the production is cheesy and very much the victim of 80s recording sensibilities. The demos, however, are raw and rowdy; one can’t help but channel their inner-Jeff Spicoli when listening to the early tracks..... Vw stoner rock at its utmost perfection. It’s definitely America’s early answer to the Black Sabbath phenomenon across the pond. In 2001, Relapse Records released a compilation of Pentagram’s 70s recordings entitled First Daze Here (The Vintage Collection). It’s a great collection (unlike the later albums that re-recorded some of songs here...). Check out the opening track “Forever My Queen”:

That’s some heavy rock’n’roll for early 1970s! Also, check out the song “Be Forewarned,” (a song they later destroyed when re-recorded in the early 80s; this version was recorded in 1972...):

(Ricky, we got to cover this song!!) “Some people think I’m an advocate of Lucifer; some say I’m child of God, yes they do!!” Good song; lot’s of opportunity to flerb the muff!! Definitely check out the collection mentioned above; as for the rest, be very careful...

http://www.mediafire.com/?emy9l0eo1pd

Emo Diaries, Entry 1: the Kinsella brothers (Cap’n Jazz, Joan of Arc, American Football, Owls, and more....)

(Mike Kinsella on left; Tim Kinsella on right)

The word Emo no longer holds meaning in our popular music culture.  If words only mean what we agree to be their terms of usage, well no one seems to agree on how to use the word Emo, and consequently the label means nothing.  The whole fashion aesthetic that kids now call “emo” (eyeliner & goth-like attire; over-sensitive, introverted affects; complete emotional self-absorption, etc. etc.) is totally foreign to me. In previous decades, Emo meant something more akin to anger & frustration; its roots, as a musical genre, were in 80s/90s post-hardcore, DC-style punk rock, and experimental math rock.  I hear kids using the word in present discourse as a label for groups that have nothing to do with the above-mentioned traditions of underground rock music.  I don’t know what the word is supposed to mean today, but I blame the early work of indie pop acts like Jimmy Eat World (and their fans) for the mutation/destruction of the term’s meaning (but that’s another story...). All that to say, I want to do a series of postings on influential artists of the 90s that defined the meaning of the Emo genre for that decade.  The best place to start is the Midwest with Chicago’s Kinsella brothers: Mike & Tim Kinsella.

Cap’n Jazz  

Tim Kinsella and his younger brother, Mike, formed the legendary Chicago Emo act, Cap’n Jazz, in 1989.  (I believe Mike was only 12 years old at the time...).  The band was active from 1989 to 1995, and they recorded some 7”s and 1 full-length, Burritos, Inspiration Point, Fork Ballon Sports, Cards in the Spokes, Automatic Biographies, Kites, Kung Fu, Trophies, Banana Peels We’ve Slipped On and Egg Shells We’ve Tippy Toed Over (Man With Gun Records 1994).  After the band's breakup, independent label Jade Tree Records released the group’s complete discography on the 2xCD release, Analphabetapolothology (1998).  The double album is an essential for any one interested 90s Emo & underground Indie Rock. Here’s the track “Oh Messy Life,” which appears on both their 1st full length & on the Jade Tree collection:

The band remains one of the most influential Emo acts of the early 90s, and the members continued to have an impact in later projects as well.  Guitarist, Davey von Boehlen, left Cap’n Jazz to concentrate on a side project, The Promise Ring, a group that would later become an equally influential band.  Their sound contributed to the development of late 90s Emo-pop (the genre which ultimately “killed” Emo as a post-hardcore tradition).  Tim and Mike Kinsella continued to have an influence as well.

http://www.mediafire.com/?tmg5lncmydj

The Sky Corvair

The Sky Corvair were a side project that included Tim Kinsella.  The group also included members of another legendary Illinois Emo act, Braid. (I will post later on the work of Bob Nanna, Braid’s frontman...)  They recorded one full-length in 1994, Unsafe at any Speed (Actionboy/Divot Records); here’s the track, “Ethyl” (please ignore the nonsensical home video that accompanies the audio track; it's the best that youtube had to offer...):

One can hear the (post)hardcore roots more clearly in this Cap’n Jazz/Braid side project; it’s pretty heavy stuff.  The album has its calm moments as well; it’s worth a listen for any Tim Kinsella fans.

http://www.mediafire.com/?9x12mj2bbxd

Joan of Arc

After Cap’n Jazz & Sky Corvair, Tim Kinsella, with his brother Mike and former Cap’n Jazz member Victor Villareal, formed the experimental indie rock project, Joan of Arc, some time in 1995.  The group employed elements of their Emo roots, but their sound developed far beyond the sounds of 90s post-hardcore & math rock.  Joan of Arc explored electronica, noise, folk, and experimental rock as well.  Tim Kinsella has recorded over 10 full lengths (as well as eps & 7”s) under the name Joan of Arc.  The group released its first full length A Portable Model Of... (Jade Tree Records) in 1997; Mike Kinsella contributed to the album as well, and it remains one of my favorites in the bands’s catalogue. Tracks such as “How Wheeling Feels” sum up what was best about 90s Emo Rock:

Their first Lp is an essential. Check it out:

http://www.mediafire.com/?zjdawzlywza

Make Believe

Also, check out Tim Kinsella's more recent project, Make Believe.  The group (which includes his cousin, Nate Kinsella) started as the touring line-up for Joan or Arc, but more recently, they have recorded material as the band Make Believe. The sound is much more aggressive than Joan of Arc; I even hear the fierceness of a younger, Cap’n Jazzy Kinsella.  Here’s the track, “Temping as a Shaman,” off their self-titled Ep (Flameshovel Records 2004):

http://www.mediafire.com/?klidzytnozm

American Football

While Tim Kinsella concentrated more on Joan of Arc, Mike Kinsella formed the project American Football in the late 90s.  The band’s sound represents what most people think of when employing the label “late Emo rock.”  It is more subdued and more melodic than anything by Cap'n Jazz. They were active from 1997 to 2000 and only recorded two releases, a self-titled Ep & Lp.  Their self-titled full-length came out in 1999 on Polyvinyl Records.  It’s really good, laid-back, mathy Emo rock.  Here’s the track “Honestly?”: 

Like the above track, the entire album is pretty poppy; it definitely seems to anticipate Mike Kinsella’s future development as the solo artist Owen.  If you like the softer side of Emo, check out the entire debut album:

http://www.mediafire.com/?tjzzmi0ymij

Owls

In the early 2000s, Tim and Mike Kinsella joined the original members of Cap’n Jazz, Victor Villareal and Sam Zurick, to form the Emo Math rock group, Owls.  Davey von Bohlen did not participate in this short-lived project. (He was playing in the Promise Ring and Vermont at the time...) Owls played during the years 2000-2002 and released one self-titled full length on Jade Tree in 2001, produced by the legendary Steve Albini.  Here’s the opening track, “What Whorse You Wrote Id On”:

One can immediately hear Cap’n Jazz here, but one also detects years of growth & maturity in the Owls’ sound.  These are not the same rowdy, rambunctious teenagers that played spazzed out dissonance with the melodic, emotional screams of an angst-filled youth.  The sound is cleaner, tighter, and perhaps more mathy.  It is worth checking out; the guitar work is great!

http://www.mediafire.com/?qgj5tdkgt2r

Owen

Both Tim and Mike Kinsella have recorded prolifically as solo artists as well.  Mike Kinsella’s solo project, Owen, is definitely worth checking out.  It’s much more mellow, acoustic-oriented music, having more in common with the current neo-folk phenomenon than Emo Rock per se. Owen has announced the release of his 6th studio album, Ghost Town, for this November.  Here’s the “official” video of the track “Good Friends, Bad Habits,” from New Leaves (Polyvinyl 2009):

I personally like the “demo” version of the song, released on the split 7” with The City on Film (Braid’s Bob Nanna’s more current project, but that’s a later post). The 7” was released in 2007 by RedCarsGoFaster Records with a limited number of copies (I think it was 800 units....). I'm not real enthusiastic about the City on Film tracks, but the demo version of the above song is great.  (I will post some "good" City on Film, along with other Bob Nanna projects, later....) Check it out:

http://www.mediafire.com/?h4pcb5jwzuw

The Kinsellas have made great contributions to Emo Rock and to Indie music in general.  This is just some of their major highlights, but there is much more to explore by both artists.  Joan of Arc and Owen tour actively, so support both artists.

(Tim Kinsella performing live)

Ben Chasny: Six Organs of Admittance, Comets on Fire, & Rangda

Ben Chasny is an amazing musician.  Although I will not post links to downloads (to respect Chasny’s attitude towards the matter...), I wanted to provide some samples of his amazing work. If you like it, spend some money and support it.  

Ben Chasny is most known for his psychedelic folk project, Six Organs of Admittance, which recently released a new album, Asleep on the Floodplain (Drag City 2011).  I just picked up a copy.  Don’t have much to say about it yet; I need to listen more.... It explores the softer experimental sounds that one would expect from Chasny’s project. Here’s the track “Hold But Let Go”:

Six Organs of Admittance have recorded prolifically since the late 90s (with more than 10 albums in a decade). Some highlights are the records Dark Noontide (their 4th album, released 2002 on Holy Mountain), For Octavio Paz (6th album released 2003 on Holy Mountain), School of the Flower (8th album released in 2005 on Drag City), and Shelter from the Ash (10th album released 2007 on Drag City).  Here’s the title track of one of my favorite albums, The School of the Flower: 

And the video of the the title track of 2007’s Shelter from the Ash:

Chasny’s Six Organs of Admittance would satisfy the tastes of folk enthusiasts, psychedelic rock fans, and any interested in experimental music.  I cannot recommend these albums enough. 

Now those that wish for a little more noise, fuzz, and rock’n’roll need not be discouraged.  Meet Chasny’s alter-ego: Comets on Fire.  The band puts down the acoustic six string and plugs in the high-powered full-stack for a full-on Stoner Rock fuzz-fest.  The group has released 4 full length albums, most recently Blue Cathedral (2004 Sub Pop) and Avatar (2006 Sub Pop).  Here’s a live video of their song , “The Bee & the Crackin’ Egg” from the LP Blue Cathedral:

Comets on Fire rock loud and hard, and Chasny’s guitar skills are nearly impeccable.  I highly recommend all the albums.

More recently, Ben Chasny has recorded and performed with super-group, Rangda, featuring Richard Bishop (of Sun City Girls) and drummer Chris Corsano (Six Organs of Admittance).  Most likely, I’ll post exclusively about Richard Bishop & his music at some later date.  He too is a phenomenal guitarist with a very particular style, so the chance to hear both artists in musical dialogue is a treat to say the least.  Here they are performing together (but not as Rangda; I believe this a Six Organs concert...):

Now here’s Ben Chasny & Richard Bishop performing as Rangda:

Like Comets, Rangda rocks a little louder than Six Organs.  The above song is “Bull Lore,” a track off their sole album False Flag (2010 Drag City).  If you like what you hear, I highly recommend the entire release. The musicianship is beyond impressive, and I include Chris Corsano in that statement. The drumming on this record is ridiculous.

I dig Chasny's entire spectrum of musical performance.  It ranges from folk to noise, and it never disappoints. Definitely support this artist.